Tampa Bay Times' Scores

  • Movies
For 809 reviews, this publication has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 5.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 0 Little Fockers
Score distribution:
  1. Negative: 75 out of 809
809 movie reviews
  1. The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.
  2. The Lobster remains strangely romantic throughout, an absurdist take on the notion that great love stories — Casablanca, The Way We Were, Gone With the Wind — don't always end tidily.
  3. At this point in his celebrated career, there shouldn't be much new that Hanks can show us. But there is, as the actor reaches deep inside to express the relief of dodging death as I've never seen it played before. He's in shock; we're awed.
  4. The End of the Tour asks viewers to lean in, listen well and be rewarded with an uncommonly intelligent and relatable movie experience.
  5. It's a remarkable movie, the first of 2015 that I can't wait to see and hear again.
  6. The funniest comedy of degeneracy since "Bad Santa," and a career-changer for Aniston and Farrell if they'll only keep following their perverted muses. Horrible Bosses spins hostile work environments into a movie surpassing "9 to 5" and "Office Space" as the touchstone flick for disenchanted drones.
  7. The movie's assured direction by Sam Mendes can't be underestimated.
  8. 42
    One of the all-time great sports movies — primarily because it's one of the all-time great sports stories.
  9. Hands down and body parts floating, the most irresistibly sick movie in years is Piranha 3D, which should be retitled Piranha 3D, Double-D and C for all the topless cuties director Alexandre Aja feeds the fish and audience.
  10. Even if their names were John and Mary, the two people soon to be a couple at the center of Southside With You could make viewers swoon. Richard Tanne's walk-and-talk slice of budding romantic life is that good at expressing those small moments when love begins taking hold.
  11. Silver Linings Playbook is a bracing shaken cocktail of awkward failure and accidental success, with Pat and Tiffany making a refreshing and unlikely couple to root for. We just want them to be abnormal together, share their favorite antidepressants, maybe even dance to Stevie Wonder.
  12. This is a gorgeous production, even by Miyazaki's standards.
  13. The soundtrack is a small marvel of music hall tunes and dialogue that is mostly garbled, allowing expressions and body language to be interpreted.
  14. The weight of Carlos' world shows on his rugged face, even with rare half-smiles. This is a masterfully understated performance that should be remembered during awards season.
  15. Blue Jasmine is Allen's 44th movie in 47 years, an amazing run with storied highs and notorious lows along the way. This one ranks among his finest dramas, his best since "Match Point."
  16. The jokes are often double-edged, the performances always spot-on. The Way, Way Back doesn't re-invent the teenage turning point genre, but Faxon and Rash offer a breezy new spin. You'll see more inventive movies this year but few more endearing.
  17. 99 Homes combines the insight of documentary filmmaking with a thriller's urgency, opening our eyes to a complex, real-life tragedy while keeping it entertaining.
  18. Furious 7 is so entertaining that you don't notice Dwayne Johnson is missing from action much of the time, only that he kills it when he shows up.
  19. It's the most unsettling nice surprise of 2011.
  20. Amy
    In some moments, Amy feels like another intrusion on the singer's privacy, like the gossip vultures circling her drug and alcohol binges, awaiting her 2011 death. Those uncomfortable moments are far outweighed by sympathetic ones.
  21. The Grand Budapest Hotel is as artistically manicured as any of his seven previous movies, and richer comically and emotionally than most.
  22. Sicario is a tentacled drug cartel thriller grabbing viewers by the throat and squeezing for two hours. This movie continually defies the conventions of its genre, from its hero's gender to the vagueness of its morality.
  23. The Descendants would still be a splendid movie without him; with Clooney, it's one of 2011's very best.
  24. Monsieur Lazhar becomes a deeply affecting film not for pathos but for the way sadness is conveyed so subtly. It's a small triumph of restrained compassion, coaxing throat lumps rather than jerking tears.
  25. With The Past, Farhadi again displays a gift for poking into corners of nondescript lives and discovering unique drama.
  26. Chandor and Redford make an illuminating procedural of Our Man's response to calamity... Our Man is everyman, revealed by beautifully filmed and edited action without exposition.
  27. Sounds depressing, but Blue Valentine is a reminder that well-measured and expertly acted pain is as thrilling to watch as 3-D spectacle.
  28. I adore The Perks of Being a Wallflower for its honest, unsentimental feel, which gets stretched a bit in the revelatory finale, but by then I didn't mind.
  29. The Revenant is an action blockbuster with an art house soul, a headlong rush of motion with meaning. Pure cinema from Iñárritu and Lubezki, two undisputed masters working at their peaks.
  30. Anomalisa ends with a major decision and a minor triumph, the result of a one-night stand in Cincinnati. Sad, desperate? Maybe. But in the hands of Kaufman and Johnson, an extraordinary movie.

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